A Magical Midnight Stroll With Harpist Magdalena Hoffmann
Absent any central concept, harpist Magdalena Hoffmann’s new album Nightscapes – streaming at Spotify – is a gorgeous playlist of both original works for harp and imaginative transcriptions of solo piano pieces. How shadowy is it? As you would expect, it’s more on the slow and starry side, although Hoffmann hardly shies away from material whose technical demands push the limits of what’s usually expected of a classical concert harpist – or from nocturnes, for that matter. On some of the piano pieces, she essentially plays a dual role akin to rhythm guitarist and lead guitarist all at once, with bright melody over strummed rhythm.
The album opens with Respighi’s Notturno in G flat major, arranged for harp with a spare, warmly incisive melody above mutedly strummy chords. Hoffmann follows a very steady trajectory, finally cutting loose with some jaunty flourishes at the end. Her take of Chopin’s A Minor Waltz – the first of three of those pieces – is amazingly close to the piano version, complete with spiky grace notes. She gives a steady, sober grace to the E Minor Waltz, but watch out – that flurry before the third “verse” has an unexpectedly wild, flamenco tinge, hardly what you’d expect to hear on a concert harp. And her spare, poignant, clear-eyed interpretation of the A Minor Waltz, Op. 48 is a revelation, especially in contrast to some of the florid piano versions that have circulated over the years.
In Hoffmann’s hands, John Field’s Nocturnes in B flat and G major as well as Ildebrando Pizzetti’s Sogno for Harp come across as cheerily attractive lullabies. 20th century French harpist-composer Henriette Renié’s Danse des Lutins is one of the album’s rare gems: courtly rhythms, an architecture that looks back the baroque, but also a devious acerbity. Hoffmann then returns to more rapturous territory with Clara Schumann’s Notturno, Op. 6, rising to an unexpectedly emphatic intensity.
Britten’s Suite for Harp, a partita of miniatures, gives Hoffmann a launching pad for demanding leaps and bounds across the length of the harp, through some thorny basslines and moments of phantasmagoria. The most colorful and bewitching piece on the program is Marcel Tournier’s La Danse du Moujik, with its kaleidoscopic dynamics and ominously allusive chromatics.
The most outside-the-box arrangement here is the Nocturne for the Left Hand Alone, a methodically lyrical Romantic ballad by jazz pianist Fred Hersch. Hoffmann gets a workout after that, with Jean-Michel Damase’s dramatically ornamented Fantaisie on Motifs from Les Contes d’Hoffmann. All in the family maybe?
She closes the record with an incisive, methodical reworking of Chopin’s Nocturne in F sharp minor. Op. 48 No. 2, bringing the lights down, but not all the way.
Iconic and Obscure Treasures From The Tesla Quartet at Lincoln Center,
In their first Lincoln Center performance since an impromptu 2008 Alice Tully Hall gig, the Tesla Quartet treated a sold-out audience to a well-loved classic along with a more obscure treat this past evening, as part of the ongoing Great Perfomers series.
Violinists Ross Snyder and Michelle Lie, violist Edwin Kaplan and cellist Serafim Smigelskiy began with an especially dynamic performance of Beethoven’s final major work, the String Quartet in F major, Op. 135. A tiptoeing hush rose to a vigorous, emphatic stroll through the elegant cheer of the opening allegretto movement, echoed in the vivace second movement as the ensemble shifted between a muted minuet and forceful, fullscale enthusiasm.
From a whispery beginning to aching, unexpectedly stark, vibrato-infused washes, the lento third movement covered an equal expanse of sonic and emotional terrain. After that saturnine interlude, the remarkably spacious series of sharp phrases that began the next movement were quite the surprise, and packed a quiet wallop. Sometimes just a little extra energy completely transforms a piece of music, as the four musicians did with the brooding bittersweetness and sudden detour toward horror afterward. After that, the return to a jaunty stroll seemed to be a red herring: leave it to Beethoven to get all gothic on us!
Respighi’s String Quartet in D major is much lesser known but shouldn’t be – it has all the color of his various Roman cinematic suites. Snyder acknowledged that he discovered it at a “boot camp for string players” upstate: a cd purchased from a now-closed Borders book and record store completely floored him with its idiosyncracies and color. Which should come as no surprise: Respighi was a string player himself.
Gentle hints of a tarantella flitted here and there in the resonant, nocturnal opening movement, the group shifting effortlessly from a balletesque pulse to a wistful, Ravel-esque lushness. The contrast between the subtle echo effects in the background behind Snyder’s bittersweet melody was deftly executed.
The quartet worked hints of Romany flavor, subtle dissonances and a moody waltz to a dark crescendo fueled by Smigelskiy’s assertive presence. They let the enigmatic dance in the third movement speak for itself for a bit, but it wasn’t long before they dug in as they had with the Beethoven, setting the stage for the lively, anthemic series of triplets, acerbic rises and candlelit lulls afterward in the final movement.
They encored with their own lush arrangement of Debussy’s The Girl with the Flaxen Hair.
The Tesla Quartet’s next American concert is a program TBA on March 23 at 8 PM at the Stamford United Methodist Church, 88 Main St. in Stamford, New York. The next free classical music event at the Lincoln Center atrium space on Broadway just north of 62nd St. is a conversation with New York Philharmonic maestro Jaap van Zweden on March 20 at 7:30 PM. The earlier you get there, the better.
A Magical Night in Central Park with the NY Phil
A gentle rain fell, delivering a welcome respite from the heat as maestro Alan Gilbert led the NY Philharmonic up from pianissimo to a velvety nocturne in Central Park last night. The big lawn in the middle of the park may not be the quietest place during the day, but the vast crowd was pretty much rapt as the lush beauty of the dawning movement of Respighi’s Fountains of Rome slowly unwound. Gilbert conducted it from memory: he had it in his fingers, and so did the orchestra. The magical moments were too numerous to count. As if on cue, the music diverted a couple of expected interruptions, the first when a plane crossed the sky just as the strings exploded with a bustling fury as Respighi’s suite reached morning rush hour: it isn’t often that an orchestra beats a jet engine, but this time it did. Then during a particularly incisive passage in Respighi’s Pines of Rome, which followed, a siren moving through the park added accidental harmonies which worked far more effectively, and interestingly, than one would have expected. The rest of the Fountains, from balletesque, to boomy, to practically silent, then stormy and and intense, then back again, was cinematic in the purest sense of the word, a tour of Rome a hundred years ago by a particularly insightful guide. As Gilbert led the orchestra on a blissful, silken glide out, it was transcendent, the kind of good-to-be-alive moment that can be savored in this city and this city alone.
The Pines were just as good, and made the fireworks display afterward seem redundant. From the swirling, Christmasy introduction, the richly misterioso outside-the-catacombs theme, artfully shifting motifs from the woodwinds leading the orchestra up and the final, lengthy crescendo (which begs the question, did Respighi know of Gustav Holst’s The Planets when he wrote this?), it was a triumphant conclusion to a sonic art-house double feature. The Philharmonic is playing both suites for their opening gala on September 27 at 7:30 PM: they couldn’t have chosen better. Avery Fisher Hall may need a new roof after they’re done.
What about Tschaikovsky’s Symphony No. 4, which opened the bill? The audience responded somewhat restlessly, particularly toward the end of the second movement. If a piece drags, is it the fault of the orchestra? Hardly, if they play it as the composer dictated, which is exactly what they did. Gilbert set up the pyrotechnics of the finale so it could resound in the park’s lower valley by keeping the quieter parts especially low key: by the end, he was practically jumping out of his shoes in a storm of blazing minor-key riffage and so was the ensemble. But there were points where the melody lagged, and during the incessant pizzicato introduction to the third movement, didn’t leave much hope that there would be many more interesting things to come for those with the patience to wait through the 1877 equivalent of a song by Rush. The NY Phil is back in Central Park this coming Monday the 16th at 8 PM, program still TBA: as always, early arrival (six isn’t too early) is a must.